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Canadians have demonstrated a remarkable sense of unity about protection of their "cultural industries" during the continuing national debate over free trade. This study of the effect of American popular culture on Canada is therefore particularly relevant.
Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies. The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study. Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader. Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
Canadians have demonstrated a remarkable sense of unity about protection of their "cultural industries" during the continuing national debate over free trade. This study of the effect of American popular culture on Canada is therefore particularly relevant.
As corporations are restructured, governments cut back, and the international economy transformed, there is an increasing need to understand the economic and political forces involved, evaluate their implications, and develop strategies to modify them to meet society's interests. In light of the current situation, the study of political economy is more relevant than ever. Understanding Canada examines a variety of topics from viewpoints ranging from the established to the interdisciplinary. Issues such as gender, Native peoples, race, ethnicity and migration, globalization, foreign policy, the welfare state, regulation, communications, popular culture, and space and the environment are examined, as are the more traditional subjects of economic growth, resources and The new Canadian political economy has emerged from its infancy and is now regarded as a respected and innovative field of scholarship. Understanding Canada furthers this tradition by focusing on current issues in an accessible and informative way. Contents Introduction: Whither the New Canadian Political Economy? - Wallace Clement - Economic Growth and Economic Crisis: Canadian Capitalism Through the Ages - Mel Watkins (Toronto) - Resources and Manufacturing in Canada's Political Economy - Wallace Clement and Glen Williams (Carleton) - Labour in the New Canadian Political Economy - Paul Philips (Manitoba) - Gender at Work: Canadian Feminist Political Economy after 1988 - Meg Luxton (York) and Heather Jon Maroney (Carleton) - Understanding What Happened Here: The Political Economy of Indigenous Peoples - Frances Abele (Carleton) - The Political Economy of Race, Ethnicity, and Migration - Daiva Stasiulis (Carleton) - Going Global: The Politics of Canada's Foreign Policy - Mark Neufeld (Trent) and Sandy Whitworth (York) - Re-mapping Canada: The State in the Era of Globalism - Greg Albo (York) and Jane Jenson (Montréal) - The New Political Economy of Regions - Janine Brodie (York) - The Challenges of the Quebec Question: Paradigm and Counter-Paradigm - Daniel Salée (Concordia) and William Coleman (McMaster) - From the Post-War to the Post-Liberal Keynesian Welfare State - Isabella Bakker (York) and Katherine Scott (?) - Displacing the Welfare State - Liora Salter (York) and Rick Salter (?) - Public Discourse and the Structures of Communication - Ted Magder (York) - The (Real) Integrated Circus: Political Economy, Popular Culture, and Major League Sport - David Whitson (Alberta) and Richard Gruneau (affil?) - Contested Terrains: Social Space and the Canadian Environment - Iain Wallace (Carleton) and Rob Shields (Carleton).
Rinaldo Walcott's groundbreaking study of black culture in Canada, Black Like Who?, caused such an uproar upon its publication in 1997 that Insomniac Press has decided to publish a second revised edition of this perennial best-seller. With its incisive readings of hip-hop, film, literature, social unrest, sports, music and the electronic media, Walcott's book not only assesses the role of black Canadians in defining Canada, it also argues strenuously against any notion of an essentialist Canadian blackness. As erudite on the issue of American super-critic Henry Louis Gates' blindness to black Canadian realities as he is on the rap of the Dream Warriors and Maestro Fresh Wes, Walcott's essays are thought-provoking and always controversial in the best sense of the word. They have added and continue to add immeasurably to public debate.
The Encyclopedia of Television, second edtion is the first major reference work to provide description, history, analysis, and information on more than 1100 subjects related to television in its international context. For a full list of entries, contributors, and more, visit the Encyclo pedia of Television, 2nd edition website.
Widely sold abroad, Beachcombers and North of 60 are what many international audiences know about Canada. In Outside Looking In Mary Jane Miller traces the evolution of representations of First Nations people in fifty years of Canadian television broadcasts.
In the past twenty years Quebec women writers, including Aline Chamberland, Claire Dé, Suzanne Jacob, and Hélène Rioux, have created female characters who are fascinated with bold sexual actions and language, cruelty, and violence, at times culminating in infanticide and serial killing. Paula Ruth Gilbert argues that these Quebec feminist writers are "re-framing" gender. Violence and the Female Imagination explores whether these imagined women are striking out at an external other or harming themselves through acts of self-destruction and depression. Gilbert examines the degree to which women are imitating men in the outward direction of their anger and hostility and suggests that such "tough" women may be mocking men in their "macho" exploits of sexuality and violence. She illustrates the ways in which Quebec female authors are "feminizing" violence or re-envisioning gender in North American culture. Gilbert bridges methodological gaps and integrates history, sociology, literary theory, feminist theory, and other disciplinary approaches to provide a framework for the discussion of important ethical and aesthetic questions.
Best's anthology examines for the first time how diverse social issues--road rage, the metric system, gun control, and abortion are among those included--migrate across national boundaries, modifying themselves from place to place as a result of different claims, claimsmakers, and policy responses. This unique collection, assembled from new research by an international group of social problems scholars, will fill a gap in undergraduate and graduate level studies in the constructionist analyses of social problems, as well as in political science, public policy, and criminology. Claims concerning one social problem often influence those about another: claimsmakers borrow rhetoric and tactics from one another. In some cases, experienced claimsmakers join efforts to call attention to other social problems: compelling images (e.g., the threatened child or random violence) link claims about different problems and reactions to one set of claims. These case studies describe very different processes, ranging from deliberate attempts to disseminate social problem claims to developments that were more inadvertent, from successes in which social problem constructions spread to new countries to failures in which claims were sown, but failed to take root. They are intended to suggest that the diffusion of social problems is neither simple nor automatic. Joel Best is professor and chair, Department of Sociology and Criminal Justice, University of Delaware. He has served as an editorial advisor for Aldine that has produced fifty titles.
The North American entertainment industry is rapidly consolidating, and new modes of technological delivery challenge Canadian content regulations. An understanding of how Canadian culture negotiates its rapport with American genres has never been more timely. West/Border/Road offers an interdisciplinary analysis of contemporary Canadian manifestations of three American genres: the western, the border, and the road. It situates close readings of literary, film, and television narratives from both English Canada and Quebec within a larger context of Canadian generic borrowing and innovation. Katherine Ann Roberts calls upon canonical works in Canadian studies, theories of genre, and a wide range of scholarship from border studies, cultural studies, and film studies to examine how genre is appropriated and sometimes reworked and how these cultural narratives engage with discourses of contemporary Canadian nationhood. The author elucidates Guy Vanderhaeghe’s rewriting of the codes of the historical western to include the trauma of Aboriginal peoples, Aritha van Herk’s playful spoof on American western iconography, the politics and perils of the representation of the Canada-US border in CBC-produced crime television, and how the road genre inspires and constrains the Québécois and Canadian road movie. A reminder of the power and limitations of American genres, West/Border/Road provides a nuanced perspective on Canadian engagement with cultural forms that may be imported but never foreign.